Beatle Productions On Stage
Beatle-related Musicals and Plays to hit the stage
|
|
Beatle Productions On Stage Beatle-related Musicals and Plays to hit the stage |
|
|
|
|
|
|
|
|
Daytrippin' Magazine & Fan Club
Beatles News/Resources
Travel and Merchandise CD: The Beatles LOVE Cirque Du Soleil
CD set: Love (CD + Audio DVD) [SPECIAL EDITION]
 LISTEN online to exclusive interviews with Beatle people!
Daytrippin'
Back Issues on sale!
Daytrippin' has been giving away free Beatles-related merchandise every month for FIVE years now since February 2000. Don't miss out on your chance to win a FABulous prize!!
|
LOVE News, Audio and Video • The Beatles have launched a MySpace page dedicated to LOVE where you can listen to samples from the LOVE soundtrack: http://www.myspace.com/thebeatles "Tomorrow Never Knows/Within You, Without You"
Posted July 20, 2006 The Beatles LOVE by Cirque du Soleil The Mirage Hotel, Las Vegas by Shelley Germeaux I must admit that when I first heard that the Beatles Cirque du Soleil show, LOVE, was coming to Vegas, I assumed it was going to be just an artsy tribute show using acrobatic performers with orchestrated instrumental Beatles music or something like that. I finally woke up to the realization that this was not just a "Vegas Act", it was a huge authentic production backed by the Beatles themselves. The soundtrack would be generated from the Beatles' master tapes, re-mixed by George Martin and his son Giles.
It was a
star-studded event that also included Siegfried and
Roy, in a respectful torch-passing for the theater that
previously included their tiger act; Brian Wilson of
the Beach Boys; all the members of Ringo's 2006 All Starr
Band, who performed the next night, Sheila E, Edgar
Winter, Rod Argent, Richard Marx, Billy Squier, and
Hamish Stuart. Composer and Harrison friend Jeff
Lynne was there, as well as Neil Aspinall
(Director of Apple), Eric Idle (Monty Python), Vegas
legend Robert Goulet, Debbie Harrie (Blondie),
actor Paul Reiser, Michael Richards (Kramer of
Seinfeld), Little Steven Van Zandt (Sopranos), and
the infamous Carrot Top. Creation of the Idea The idea for a Beatles Cirque show began with a conversation between George Harrison and Guy Laliberte, the founder of the Cirque, in 2000. Harrison and Laliberte were big fans of each other's work, and together they agreed that the Beatles and the Cirque could form a great creative marriage. Yoko Ono coined the perfect phrase when she said, "I think it's a great combination: the Beatles' agile mind and the Cirque's agile body." Sadly, George did not live to see this dream fulfilled, but his wife Olivia pursued the project with the other Beatles and Apple. After three years of deliberation between Paul McCartney, Ringo Starr, Olivia Harrison and Yoko Ono, with the Cirque, Apple, and the Mirage Hotel, the first major theatrical partnership for the Beatles became official. Olivia worked personally with the creators in selecting which of George's songs and music to use, including for example, a demo tape of "While My Guitar Gently Weeps" instead of the commercial version.
The show was done "in reverse" of what the Cirque creators were used to, according to the show's creation director, Chantal Tremblay. Usually the Cirque shows are focused on the acrobatic routines and the performers, and the music is written around that. But this time, the Beatles' music comes first, and the storyline is written to fit that music. The characters are incredibly surreal, and interesting medleys and fragments of Beatles music are fused with each other in a way that is extremely effective. The Beatles voices are sometimes in conversation as their silhouettes are periodically shown on the screens. Even a VW Beetle is featured with the license plate "28 IF" as it is shown on the cover of Abbey Road, commemorating not just the album, but a tongue in cheek reference to the "Paul is Dead" hoax. Jean Rabasse, the set designer, spent a rumored $100 million creating a set that would "surround the Beatles with a bubble" and make each person in the 2,000 seat theater feel closely connected with the performance. The most technologically advanced theater ever built, the stage is in the center, with jutting aisles that allow the performers to come in and out of various entrances. Scenes contain moving platforms, changing skies, and huge video screens. There are two huge 2,000 square foot panoramic screens on the far walls, and four other semi-transparent screens that scroll into the stage area at various times, giving each person a close-up view of various images of the Beatles.
Sir George said while they wanted to be sure to use solid hits in the score, he wasn't out to make it "the best of" the Beatles. They used many interesting and lesser-known pieces, fragments, parts of demos, and even some conversations of the Beatles in the studio, that would make the production seem intimate and real. With 6, 341 speakers, (including three speakers in each seat), the technology in this panoramic theater makes you feel that you are sitting right there with the Beatles in the studio. As Sir George commented, "people are going to be knocked out by what they are hearing!" Indeed, the
magic would be lost if the full song-list were published,
just as trying to describe the full show itself is
impossible to do. What follows is a general outline of the
show, and my reactions to it; but the magic is in
experiencing the show itself. I strongly recommend that
every Beatle fan see it. It's a transforming experience, one
you will not regret. The Show [WARNING: SPOILERS]
The emotion I immediately felt with such a powerful opening was nearly indescribable. Sailors begin to slowly climb up ropes toward the sky in anticipation. Suddenly the stage explodes into the rooftop of Savile Row for their final performance, with Ringo's pounding drum solo on Abbey Road, as it forms the opening chords of "Get Back" and dancers energetically burst onto the scene to rock out with the music. Suddenly the brick walls are now being crashed into and destroyed by flying acrobats, and you realize this is now a war zone by seeing the images on the video screens; the dark days of WWII when Liverpool was bombed relentlessly around the time the boys were born. Sgt. Pepper's band has been destroyed and he collects the rubble of old instruments, representing the death of the Big Band era. Eleanor Rigby, a frail old woman, is now emerging from the back, bringing what belongings and memories she has left to her name, as the melancholy song plays, amongst lifeless bodies and grey rubble.
My daughter asked me why the Ku-Klux-Klan figures appeared during the frenzied circus-like scene during "The Benefit of Mr. Kite." She didn't notice Mr. Kite's declaration that "across the South, people were upset that the Beatles thought they were more important than Jesus Christ" and the video screen across the back showing Beatles records being burned. This scene depicts all the craziness at that time of Beatlemania, as many events are going on at one time. In many scenes during the 90-minute show, there is so much going on in each part of the stage, deciding which part of the stage to watch is a dilemma. We did attend a second night, and when seated in a different section, the show seemed completely different at times. I saw things I didn't notice the first night.
Translucent umbrellas become jellyfish, and other undersea creatures glide to "Octopus' Garden" along with a lullaby of "Good Night". A pregnant Lady Madonna dances with her lover, Sugar Plum Fairy, with children at her feet, in celebration of motherhood. "Here Comes the Sun" symbolizes the beginning of the spiritual phase the Beatles experienced, with extremely interesting yoga moves and a gigantic ornamental sun, exuding a tranquil moment of enlightenment. "Something" is a beautiful, sensuous scene symbolizing the women that began to capture the Beatles' hearts and slowly lure them into family life. "Revolution" depicts Flower Power as hippies attempt to hand flowers to unwilling police officers surrounding smoke-filled telephone booths. As the show seems to tumble too quickly toward what you know is getting close to the end, "A Day in the Life" starts, and four sets of headlights emerge from the wings, symbolizing four Beatles on a collision course. The VW Beetle strikes Julia, portraying her death in the car accident that killed her. The Beetle is shattered into a thousand pieces and carried off stage as she floats lifeless up to Heaven. Four young Liverpool boys stand in shock. One of them, whom I assume is John, runs off the stage. The other three scatter. I was stunned at this moment, as the tears would not stop flowing down my face. The events that were depicted by this scene were multi-faceted and intensely heartbreaking: Julia's death, the break up of the Beatles (the Beetle), and John "running away" in his devastation, causing the other three to be displaced.
LOVE was a phenomenal, amazing show that left me spellbound and emotional. I was so moved by it that we expended some effort (and money) the next day to get standby tickets for our three teenaged kids (two girls and one boyfriend) for that night and ended up going again ourselves. The first thing the kids said when exiting the show was that they had chills for the first half hour, and that they were completely blown away. And we know how hard it is to impress teenagers these days! We all said we'd never seen anything like it before and would never forget it. I realized that this show is a powerful medium by which to keep the Beatles music alive for the next generation. LOVE is a permanent addition to the Mirage Hotel, replacing the Siegfried and Roy show, and will create a new and lasting way of preserving the Beatles' music and history. Quotes
Roger Friedman was on hand to chat with the Beatles and families after the gala premiere of the show, and in his (www.foxnews.com ) report of July 3, reports that Paul McCartney was overheard saying to Ringo, "we were a pretty great group, weren't we?" Paul said it was the first time he'd watched LOVE in its entirety, adding, "I have to see it again." Cynthia Lennon told Friedman, "I was close to tears at the end. I mean the show really moved me." In a fitting remark, as McCartney took the stage at the end of the premiere, he said "To John and George!" and the audience went wild. Ticket Info Shows are at 7:30 and 10:30 pm, check the schedule for show days each week. Get there an hour early to allow for concessions and pre-show entertainment. Ticket prices range from $69 to $150. It's wise to book in advance, as right now the show is so hot in Vegas that it was sold out the rest of the week that we were there. You can hang out in the "standby" line for extra tickets before the show, but you have to be there early.
A gift shop
next to the theater is full of Beatles merchandise, renewing
interest in Beatles' t-shirts, mugs, and stationery that has
been available in the past but takes on new excitement in
this venue. Cirque-themed merchandise from the show includes
one t-shirt and a beautiful program worth having. A CD of
the program will be released sometime this Fall, and will
include the full soundtrack and extra tracks that were
dropped from the show.
Seattle's John Lennon Jam / New Lennon Play By Shelley Germeaux John Lennon was honored in
Seattle on the 25th anniversary of his death at the
legendary Crocodile Café. Held on December 8, the
"John Lennon Jam" was an enthusiastic night of Lennon's
music and a celebration that will be long
remembered. Hosted by the Crocodile and Roseta Productions LLC, Seattle rock musicians came together to pay homage to Lennon‚s music, both the Beatles and his solo work. The "Jam" band was fronted by Rick Lovrovich (The Beatniks), and included other members Jakael Tristram (Hit Explosion) Jon Bolton (Beatniks), Gary Lanz and Johnny Jones. Alan White (drummer for Yes, and John Lennon‚s Plastic Ono Band), a resident of this area, made a guest appearance, playing songs he originally recorded with Lennon, such as "Instant Karma", "Imagine", and "Crippled Inside". All the music, from the Beatles earliest songs, to "Starting Over", from his last album, Double Fantasy, was performed so well, you thought it was John himself. It was an enjoyable and fitting way to spend this otherwise somber anniversary, and no doubt John would have been pleased by the tribute. Yoko Ono, Sean Lennon as well as Julian Lennon have performed at the Crocodile in years past. Proceeds from the evening will benefit Northwest Harvest Charity as well as upcoming production of the play written by Steve Roseta, "(Just Like) Starting Over." Steve announced the production, a play about John Lennon, which will be staged at the Bathhouse Theater on Greenlake in Seattle, in September of 2006. I asked Steve how he got the idea for this play. He said, "I purchased the full transcript of the last interview with John Lennon (RKO Radio, with Dave Sholin) for $60 on Ebay, which has never before been published in full. That interview took place a few hours before Lennon was tragically killed, and forms the basis of my play, which is about the last day of John Lennon's life. The John Lennon Jam was an opportunity to get the word out." "The posters from the event will also be offered on Ebay with autographs of all the musicians from that night, too. The proceeds help fund the production." According to PRWeb Press release about the play, "It is a dialogue-driven story that will make the audience feel like a fly on the wall inside the Lennons' quarters in New York's Dakota Apartments on December 8, 1980." Subjects the Lennons talk about are releasing Double Fantasy after five years of seclusion, role reversals, and the varied artistic and political stands that the two had forged. John's comments on war, terrorism, religion, race, feminism, and politics are as true today as ever. For more information about these events, and information about the commemorative poster, go to myspace.com/johnlennonjam, or contact Steve Roseta at 425-445-0718. The eBay bid for the poster starts Wednesday the 14th and runs for one week. The headline is "Signed John Lennon Jam‚ Limited Edition Poster." Ebay Item number: 7572908167
In Response to the closing of
LENNON, the musical Dear Don Scardino, Director of LENNON, I am a lifelong Beatles fan that has seen LENNON twice. I heard the buzz about the bad reviews the show was getting in San Francisco, but kept an open mind when I first saw it in New York. I enjoyed it so much the first time, that I went back to see it again a second time. In a span of two hours, you managed to tell the life story of John Lennon while conveying his humor, his insecurities, his talent and most importantly, his spirit. I applaud you and all the talented performers and musicians who made LENNON come to life. Therefore, I was stunned and appalled at the amount of negative reviews the show was receiving from critics. However, on the bright side, every fan I talked to that had actually seen the show, enjoyed it as much as I did. I figured that Beatles fans were open-minded and loyal enough to go see the show and make their own decision. With the news that the show is closing much too early, I definitely have been proven wrong. It turns out that the majority of Beatles fans are willing to believe the critics and the superficial hype instead of giving Broadway a chance. The criticism that the Beatles were left out is simply not true. Yet, Beatles fans seemed to obsess and crave a "Lennon" musical that is all about the Beatles. It is astonishing to me that 25 years after John Lennon's death, people still refuse to acknowledge that he had a life after the Beatles. It is these same fans who blame Yoko for the Beatles breakup and resent any woman that Paul McCartney marries. And to those who refuse to see the show because certain details were omitted or under-emphasized, I say that still does not affect the overall spirit and joy of the musical, and is certainly no reason to boycott the show. No matter how many critics want to pick on little details to slam the show, the real fault lies with the fans. After observing the most distasteful and politically incorrect reactions from fans who had not even seen the show, I came to the realization that these people secretly wanted this show to fail. And why? Because they don't want to see John Lennon for who he really was. Just as he tried to convince everyone, he wasn't the lovable Beatle that everyone thought. But no matter how many times he tried to convince people, they refused to believe this and as a result, years later, refused to see the LENNON musical. I know how much time and dedication goes into creating a Broadway musical and my heart aches for the cast and crew of LENNON who worked so hard on the show. I just wanted you to know that the people who saw the show really enjoyed it. Unfortunately, our positive word of mouth could not stand a chance next to a 35 year-mindset of Beatle fans in denial. Sincerely, Trina Yannicos Give LENNON a Chance!! Review of LENNON, The
Musical August 15, 2005
Truthfully, it infuriates me how many Beatles fans are dismissing the LENNON musical without even seeing it first. It seems to me they are just hoping that this musical will bomb. Yes, there were bad reviews of the show when it was in previews in San Francisco, but to director Don Scardino's credit, he and his producers seemed to have listened to the feedback and, in turn, have brought a respectable and emotionally moving account of John Lennon's life and spirit to Broadway. Yes, it's true that the Beatles represent only a small portion of the show. This seems to upset many Beatles fans. However, this musical is called LENNON and the intent is to explore John's solo work and the message he was trying to convey through his music and life AFTER the Beatles. John admitted after the Beatles broke up that he was not happy in the commercialized role and image of being a "Beatle". As shown in the Imagine movie (1988), he told one NY Times reporter, "I'm sorry you liked the old moptops, dear... and you liked 'Hard Day's Night', luv, but I've grown up..." Beatles fans need to keep this in mind when they go see the musical--and they DEFINITELY should go see this musical. It is simply a celebration of John Lennon's solo music and his spirit. A few parts of his biography may be missing but in a two-hour Broadway musical, many details have to be minimalized or you would have a six-hour musical. Let's face it: We all know the Beatles story-- but John's perspective has never really gotten attention and focus like this. Beatles fan, Diane Pontikes, who saw the musical put it perfectly: "Some people think more should be done in depicting the Beatle years, but it is a musical about Lennon and not about the Beatles. Besides, I think that Paul and Ringo would be critical in how and who is representing them on stage. The intention would be to have as little interference as possible so it would not become a Beatle musical." Many fans are mad at Yoko accusing her of dictating the story--emphasizing her role in John's life and disregarding other people in his life. But if you look at his music and his statements, that's what John did himself. From Two Virgins to Double Fantasy, John made Yoko the center of his life. She gave him the courage to eventually leave the Beatles and make songs and political statements on his own. No matter what happened with their relationship in the years that followed, he would always see her as his outlet for individual freedom and expression. That said, the musical itself is wonderful. The idea of having nine different singers taking turns playing John may seem absurd, but the truth is, somehow it works. There are two main performers who do have the looks, voice and mannerisms of John down perfectly. These two men, Will Chase and Chad Kimball, could have held the role of Lennon through the entire show. But the occasional performance by the other seven actors, including three African American performers and four women, really adds a dimension to Lennon's songs that have never been presented before. While tribute concerts such as the 2001 Lennon tribute, "A Night for John Lennon's Words and Music" at Radio City Music Hall had good intentions, there was something missing in those performances. These performances by "non-Lennon" types in the LENNON musical are touching and poignant--enough that I wanted to buy the soundtrack after the show (and I usually do not like any type of Beatle/solo covers). So my advice to Beatles fans is to go see the LENNON musical with an open mind--something John tried to convey in his songs. Do not pre-judge until you've seen it yourself. Celebrate John's music and the personal growth he went through, not as the lovable Beatle, but as a complex adult who struggled to understand himself and the world. All I am saying is... Give LENNON a chance! Daytrippin's Shelley Germeaux was
quoted in the BBC NEWS review: See Shelley's full commentary below
A Review by Geno Barron "I'm sick to death of hearing things from uptight shortsighted narrow minded "LENNON" hypocritics.......all I want is the truth now, just give me some truth now." Truth is........I went to see "LENNON" on Broadway in New York City on July 30. The critics have been quite harsh regarding this performance, but I WANT TO TELL YOU that it was quite enjoyable. The play was very well done, focusing on John's life. Those crying about the lack of Beatles songs are entirely missing the point. Though some readers may wonder if "he is such a fan he would like anything John related," let me say for the record that this is untrue. Those who know me realize that I am quite honest in all things regarding the Beatles. For the most part, Yoko was quite fair about the content (outside of leaving May Pang out) and did include the Beatles---- most notably Paul. (Yes, Yoko had control, or it would not have happened.) The nine members of the cast kept the play moving along quite well and ultimately gave an awesome performance. The set was simple yet full at the same time. This show causes the audience to experience a range of emotions from sadness to joy and there is also a lot of honest humor. There are even moments where there is some audience interaction! Best of all was hearing two very beautiful John Lennon songs, 'India India" and 'I Don't Want to Lose You'. Oh man, I can't believe these were never released. Afterwards, I spoke to one of the cast members, Marcy Harriell (a wonderful performer who pulled off Elton John in the best way you could IMAGINE.) I told her how great the play was and to not let the critics get her down. In all honesty, you could see that she was hurt and worried about it. I say to hell with the negative reviews! Anyone considering seeing "Lennon" should go before it's too late. This play is too great of a tribute to John to see it die. All I am saying is......GIVE THIS PLAY A CHANCE.
"Lennon", the Musical: What's the Fuss about? Commentary by Daytrippin'
West Coast Correspondent,
"Lennon: A New Musical in His Own Write" opened in San Francisco on April 12 and is scheduled to run through May 14 before it heads to Broadway this summer. Written and directed by Don Scardino, a self-admitted Beatles and John Lennon fan, the production has the full support and accolades from John's widow, Yoko Ono. According to the website, www.lennonthemusical.com , this is a "biographical musical that tells the story of John Lennon's life using Lennon's own words and songs." In a Q&A section with Don Scardino, he says "It seemed to me that John's life was a search for his authentic Self." The musical is an attempt to unearth the True John Lennon, his own search for Truth in his life, and the transformations he made as a man, highlighting the love story between John and Yoko. Yoko Ono has been approached many times in the past for projects like this, but this is the first one she has given her approval for. She even has offered up three previously unpublished Lennon songs: "India, India", "I Don't Want to Lose You", and "Cookin' (In the Kitchen of Love)". Producer Allan McKeown said in an interview for the Marin County Journal (April 18, 2005) that there were two things about this musical that Yoko really liked that other productions did not offer. The first was that "there wasn't some guy on stage pretending to be John", something that is difficult for any one person to take on. Instead, Scardino gets around this problem by saying "can't we all be John?" and assigning the part to nine different individuals of different ethic backgrounds, to channel John Lennon's spirit as well as everyone else's, on stage. It's a very artsy and provocative concept that was bound to intrigue Yoko's avant-garde style, evoking the "I am he as you are he" idea of one-ness which John promoted. Not to mention the use of the number nine, which was John's favorite number. Secondly, this production uses John's actual quotes from his life and doesn't make up anything. Scardino said "90% of the dialog is taken from the hundreds of interviews that he and Yoko gave over the years." It all sounds pretty good. The production however, has generated so much controversy and negative reviews it has been decided by the production team to skip it's originally scheduled Boston run. Instead it is going back to the drawing board for "re-tooling"-- possibly bringing in new writers and new cast members--- before it hits New York. Allan McKeown said April 25th, "We made the decision today to forego our Boston engagement and will instead return to the rehearsal room in New York with our cast and creative team to make the changes that will be beneficial to our show. We look forward to arriving on Broadway with a show that we believe will live up to the legend of John Lennon." Quotes from several reviews sound like this, and I'll start with the Contra Costa Times from April 21, which went on a gross-a-thon about the "jukebox musical concept": "Imagine Something Awful" "The show is bad….Lennon's life appears to have been hijacked…by Up with People…The Donny and Marie Show….or a Bob Hope Special." It continues with "The Beatles, who receive short-shrift in the show", and slams the biographical accuracy the producer is so proud of with this comment: "revisionism has placed events in Lennon's life out of order." The only good thing about it, according to this review is that there was thankfully still time to make changes before it moves on. Michael Reidel of the New York Post said on April 22, "Pull the Plug", mincing no words by saying that "Lennon" was "such a mess" that it could close. Variety Magazine got into the act and said "Lennon's life is told with a finger on the fast-forward button…keeping the soul of the man at arm's length…" The San Jose Mercury News said "starting over is the wisest approach" and ended with "let it be….over." The Boston Globe called it only "loosely" biographical. Last but not least, Chloe Veltman of the San Francisco Weekly (www.sfweekly.com May 4) simply calls it a "Lemmon," saying that if someone didn't know who John Lennon was, he'd come away believing that Lennon was "the slightly unkempt and significantly less disciplined half of that most lauded of cultural institutions, the John and Yoko show." So what's the fuss about? It's basically two things: the lack of Beatles music in a John Lennon musical, which seems like blasphemy; and secondly, the musical's underlying theme, which is to tell the real story about John Lennon's life, ends up another broken promise that caters to the Yoko Ono version of events&emdash;the one we've all heard, which has been hotly debated over the years. The combination of the two perceptions is fatal for the producers and writers who are in a Catch-22 to get Yoko's blessings.
While it does begin with his birth in Liverpool, it sort of flies quickly through his childhood and the Beatles era, settling into the relationship with Yoko and John's solo years where it stays. All the songs are from his solo years except for two songs that the Beatles only covered early on, and none from the Lennon/McCartney catalog. Katie Hickox, (correspondent for the "What Goes On" website run by Dave Haber) (www.whatgoeson.com) , was outraged at the impression the production gave, that the Beatles were only a minimal part of John's psyche, so minimal that it did not include any Beatles songs whatsoever, and even portrayed the Beatles as women in black little suits. Saying, "The new musical should be called 'All About Yoko'", she railed on the story line that seems to reduce John to nothing. In the same Q&A section on the "Lennon" website I mentioned before, Don Scardino is asked why there is no Beatles music. His reply was that he felt that John would have wanted to focus on his solo music; that John wasn't "interested in the Beatles"--Also that his solo music was more autobiographical and therefore fit the story better. I can understand the latter comment-- that actually makes sense-- but not the first. His comment that John wasn't "interested" in the Beatles is silly. John used to send his assistants to Beatlefest conventions regularly to secretly buy back his own memorabilia and records, and loved listening to the music. He used to wear a button that said, "I still love the Beatles." Cynthia got at least a moment or two with Julian in the script, but she was portrayed as a "twit" with no sense and who admitted that John was better off with Yoko. And Cynthia, as John's first wife, deserves more recognition. After all she saw John through an eleven-year period (as long as Yoko's time) beginning with the formation of the Quarrymen and the entire career of the Beatles. She also gave him a son. May Pang on the other hand, who was John's personal assistant for almost three years as well as studio assistant, then lived with him for eighteen months during the "Lost Weekend" in LA, then continued to spend time with him until his death, totaling a ten-year friendship---has suffered a complete erasure from the record. Instead, the production implies that John was alone and drop-dead drunk during the whole time he was in L.A., spewing nothing but profanity, since of course he was a blithering idiot without Yoko. It's true that the events in the musical happened, but they were given too much weight at the expense of the positive things that were left out. His mistakes are now replayed over and over, creating a cross for John to bear that he can never live down. If you have studied John Lennon's life and dug deep enough, by this point the hair would undoubtedly stand up on the back of your neck and generate some inner rage and possibly some uncontrollable shaking. During the time in L.A., yes there were some bad moments, but overall, according to May, it was "his most productive time", not only generating "Walls and Bridges" but working with many of his old friends including the Beatles and getting back to his true love, his music. He did succeed at getting away from the party atmosphere in L.A. When asked about the unceremonious flushing of May Pang into the delete file, Don Scardino simply told Dave Haber (What Goes On) that it wasn't "relevant" to the story. (Close my mouth before the flies take up residence in my back molars.) I am reminded of the impression my husband Ron had when he visited the John Lennon Museum outside Tokyo, dedicated by Yoko Ono in 2000. He said the same thing, that while the childhood and Beatles sections are rather small, with no pictures of Cynthia or Julian, the Yoko era is large and bright, with many pictures of her and Sean, and references to John's solo work, as if to say that "Lennon began at Yoko." The naked truth is that Yoko is the promoter and owner of John's solo legacy and the royalties generated from that work. She is only part owner of the Beatles legacy, and that part she must share with Paul McCartney and be subject to Apple. From her point of view, it's her job as John's widow and the keeper of the Lennon Estate, to keep the part of him that she knew, alive, and promote those songs for future royalties. John may have said "Power to the people", but the truth is really "Power to the widow." As to the subject of mistresses and ex-wives, I don't know too many wives who relish the idea of remembering them in nice ways, if at all; and Scardino of course understood this before he approached Yoko with sweaty palms and a script he wanted approved. May is no doubt a sore spot for Yoko, one she'd rather not discuss. And if she has any say in how John is remembered, (and she does have most of it), she will do it her way. So you decide. Despite the controversy, I would love to see the musical if it came to Seattle. Just to honor the spirit of John Lennon's life and be there while his music is being performed. I hear the band is great, and the music is…well, it was pretty damned good if I remember! Even if it is just his solo work, no one ever gets to hear it performed live. So if you can get past the perceived glitches in the story and just enjoy the show as it is, the quality of the show itself is worth seeing, I'm told. I can't wait to hear about the revised production, can you? The Broadway version is due to begin on June 28, new and improved. So New Yorkers-- be ready to tell us how it goes! For more information, visit the official Lennon Musical site at: www.lennonthemusical.com
Fan Review of "Lennon", the
musical "Lennon", the musical (book by Don Scardino), music & lyrics by John Lennon was thrilling, humorous and of course sad at the tragic ending of our warrior, our rock & roll singer, our peace activist. At the start of the play the news footage shows a rocket floating in space announcing that the astronauts had chosen "Imagine" to wake up every morning to, which was very moving. It goes through John's relationship with The Beatles, performed by four women, which prompts us to wonder, why women? One can interpret The Beatles performed by women as a relationship. The Beatles shared a special bond, a friendship and incredible talent that they shared with their women and gave to the world. The choreography is minimal and provides energy to some of the songs, such as "Twist and Shout". We see a glimpse of his painful, joyous and complicated relationship with Yoko Ono. One has to be open minded to accept songs that we have listened for years, over and over, performed by soulful voices, expressing the music in their own strong vivacious sound. Marcy Harriell has a powerful voice that resonates pain when she sang, "Woman is the Nigger of the World", and Julia Murney, provided a motherly soft soothing, almost a lullaby sound in "Beautiful Boy". Our first thought is to say, 'how dare any one sing Lennon's songs in that manner'. But if you have any inclination of what John strove for in this universe then you have to say, yes "I am he, as you are he, as you are me, and we are altogether". An ensemble of nine men and women of various ages and ethnic diversity sing John's songs, each giving his or her emotion. The playful and hilarious "I'm Stepping Out" performed by a female as Elton John, gives us a quick insight into John's humor and how fluid he was in his life. The backdrop provides images during some of the songs, of what is going on at the time, such as John's deportation issue, his long lost year in Los Angeles, and his love for his sons. And yes, his love for Yoko. Perhaps some have not gotten over the idea that he loved this woman, and he formed a life with her. Maybe we want to turn the clock back and have The Beatles stay together forever. "Lennon" the musical shows us that John forged on with life, and he left us the music to enjoy forever. Perhaps we must also forge on, and accept the play as it is presented. A friend of ours Brendan ran intoYoko near the Dakota, and mentioned to her that a group of us from Los Angeles went to see the musical and that we loved it. Brendan told us that she had a giant grin on her face and was very appreciative of the compliment. "Imagine" --Olivia G. Rodriguez and
Donna Moreno
Ears on a Beatle •
Ears on a Beatle: Life, liberty and the pursuit of John
Lennon
Ears on a Beatle, by Mark St. Germain (Camping With Henry and Tom), is a fascinating new play about two FBI agents who conduct undercover surveillance on John Lennon. This is a thought-provoking look at life, liberty, and privacy in the 70's, when peace and paranoia swept the nation. Then, as now, there were no secrets in America but the truth. Ears on a Beatle stars Dan Lauria (TV's The Wonder Years) and Bill Dawes (Gross Indecency) who while investigating the Lennon case, come to explore their relationship to each other and to their country. Review
of "Ears on a Beatle" Amazingly with only two characters in the 90 minute play, the playwright manages to contrast both the establishment's views, played convincingly by Dan Lauria as the older agent, with the counterculture youth movement, represented by Bill Dawes as the younger agent. The facts presented in the play are based on the actual FBI files kept on Lennon that were eventually released to the public led by a campaign by Professor Jon Wiener. The paper trail hits home with the clever set design of stacks and stacks of government file boxes. [The actual documents are on display in the lobby of the theater for further perusal.] Amidst the documented facts presented, conspiracy theories are also hinted at--not only concerning Lennon's life AND death, but the assassinations of Bobby Kennedy and Martin Luther King. For Beatles fans hoping to see some kind of visual reference to Lennon, you'll be disappointed. Lennon's presence in the play is that of a third party who is talked about. Furthermore, Lennon's death is addressed with the sound of gunshots that could be disturbing for some fans. However, the messages and/or questions that Ears on a Beatle brings up hold enormous significance in our current political climate which make it a educational and entertaining look at U.S. history and Lennon's life. --Trina
Yannicos
|
Daytrippin' is an independent fan club and is not officially associated with The Beatles, Apple Records or Capitol Records.
The
gala premiere on June 30, 2006 created the Beatles family
reunion we never thought would happen-- Sir George Martin
and son Giles, Paul McCartney, Ringo Starr
and wife Barbara Bach, Yoko Ono, Olivia Harrison
and son Dhani, even John's first wife Cynthia
and son Julian Lennon all strolled down the red
carpet to talk to reporters and have photos taken before
entering the theater. Sean Lennon, John's son with
Yoko, was unfortunately a no-show. 
Writer-Director
Dominic Champagne worked to create a theatric
production that would tell the story of the Beatles through
dance, cirque-style acrobatics, and video. It is a
magical world consisting of the various characters in the
Beatles songs, like the Walrus, Julia, Sgt. Pepper, and Lady
Madonna. 
George
Martin and his son Giles created the soundtrack
from 200 Beatles songs (including studio takes), from the
original master tapes. This was no easy task, when you
consider that just 30 full songs would fill a 90-minute
show. Most of the numbers are dramatic re-mixes in a
"mash-up" style that is becoming so popular with
contemporary music. There is no actual song list for the
show because of the fact that only fragments of many songs
are used throughout the production. For example, imagine
hearing Ringo's drum solo on Abbey Road, while it flows into
the opening beats of "Get Back." The effect is stunning and
keeps the production moving so startlingly quick, you are
always surprised at what you are seeing and hearing.
As
the lights begin to dim, the first thing you hear is the
Beatles themselves, as if they are back stage talking to
each other over an open mic, talking about the show about to
begin, and laughing. A deep blue sky unfolds above us as
four Nowhere Men, Sgt. Pepper, and the Fool slowly cross the
stage, fog filtering out from under their umbrellas. Already
the hair is standing up on my arm. The acapella version of
the song "Because" begins in pristine, crystal clear sound,
and I can hear the Beatles voices, and the sound of their
breath, in my ear, with the help of the speaker embedded in
my headrest. 
Beatlemania
then becomes the theme in an exhilarating burst of renewed
energy, with "I Want to Hold Your Hand" and "Drive My Car"
as the VW Beetle is driven out. Here, four Beatles in suits
jump and fly across trampoline walls and in and out of the
car, reminiscent of scenes from "A Hard Day's
Night."
Next
in "Help", also symbolic of the way the Beatles began to
feel with so much fame, four roller-bladers come screaming
on stage to race up tall curved ramps with death-defying
twists and jumps. In the scenes to follow, Dr. Robert tries
to help four mangled blackbirds in a humorous scene, and
"Lucy in the Sky with Diamonds" soars through the air.
During the dream-like sequence featuring "Within You,
Without You", and "Tomorrow Never Knows", the audience is
covered by a gigantic billowing sheet. Then just as quickly
as it appeared, it magically disappears into the center of
the stage. 
"Hey
Jude" then slowly begins as petals rain from the sky,
promising to "make it better" and offer reconciliation.
"Sgt. Pepper" and "All You Need is Love" explode the ending
into joy and dancing, as translucent images of each Beatle
appear on the four screens now moving into the stage. To be
quite honest, I was so mesmerized by those that I forgot to
watch the dancers. This was the ending, after all, as
streamers fell around me, and I just wanted to watch their
images. By this time, they felt real, too. I was seated
closest to the image of George, who seemed to knowingly gaze
down on the crowd. I can't tell you how emotional I felt at
that moment. Still wiping tears from my eyes as I gathered
up my stuff (stuffing a streamer souvenir in my purse), I
did not want to leave. 
After
the gala premiere, Ringo Starr was quoted as saying "The
music was incredible! I was surprised with the emotion I
felt when I heard the voices of George and John. Two of our
brothers were in the room, even though they weren't sitting
next to us."
Let
me preface this review by saying that the LENNON cast
received a standing ovation at the end of the
performance.
May
4, 2005
All
we can do is summarize the issues and let opinions fall as
they will on either side of the fence. It must be noted with
great irony that despite John's hope that the "world would
live as One", this musical has created the biggest division
among Lennon fans I have experienced. 